Nathan Ross Freeman's MR. BONES wins Best Drama at Sweet Auburn Film Fest!

Nathan Ross Freeman, author of HANNAH ELIAS, won Best Drama for MR. BONES at the Sweet Auburn Film Festival in downtown Atlanta. Congratulations, Nat!

Seats are going fast for AAPEX's Hannah Elias reading at the legendary Players Club in NYC June 17th. Leilani N. Bryant, direct from Broadway's The Color Purple, is starring in the titular role. RSVP ASAP to jazmn47@aol.com.

AAPEX Writers Open And Close Downtown Urban Theater Fest 6/18-29 (NYC)

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Jamal Williams' OSAGE AVENUE and Hershell Norwood's BILLIE'S BLUES open and close the Downtown Urban Theater Festival June 18-29th at the Cherry Lane Theater in NYC. Congratulations, Jamal and Hershell! For more information, click here.

Von Washington's CONSPIRACY Premieres 5/23 (Kalamazoo)

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Stranger In My Body 5/20 (NYC)

Tuesday, May 20th, 2008

7:30pm

Brecht Forum

451 West Street, NY, NY 10031

(off the West Side Highway, between Bank and Bethune)

Stranger in My Body

A young black woman struggling with her own religion and sexuality must negotiate her love relationship with a female-to-male transgender person.

Written by

Garlia Cornelia Jones

Directed by

Ira Sharay-Kip

Starring

Chaelon Costello, Melissa Joyner and Tai Verley

Admission is FREE

A brief talk-back will follow the reading.Donations will be accepted for the wine and cheese reception followingthe talk-back. It is being sponsored by the Brecht Forum. Brecht Forum is located on the West Side Highway between Bank and Bethune (right behind the New School for Drama!) For more information on the Brecht Forum, visit them on the web: http://www.brechtforum.org/

THANK YOU!!! We look forward to your attendance! Contact: Garlia C. Jones garlia.jones@gmail.com. 586-747-2108

Stella Adler and AAPEX Present Mike Oatman's THE CHITLIN THIEF 5/15 (NYC)

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The Stella Adler Conservatory in New York City

will present a reading of Mike Oatman's stunning new comedy

THE CHITTLIN THIEF

on Thursday, May 15, at 7pm.

The reading will be directed by AAPEX artist

Benard Cummings,

who is an instructor at the Conservatory.

It stars:

Duane A. Robinson

Mr. Robinson's stage credits include Classical Theater of Harlem's Ain’t Supposed to Die A Natural Death (Sweet Daddy), Romeo and Juliet (Romeo), Folger Theater's (Washington D.C.) King Lear (Edmund),

Turtle Shell Prods' (NYC) Five Guns, Four Bullets (Joshua), Heads-Up (Grey), LifeDome Theater's (NYC) Christmas at The Murphy’s (Jim), Stella Adler Studio's (NYC) Angels In America (Belize/Mr. Lies), The Dybbuk (Man), Tartuffe (Tartuffe), Marat/Sade (Marat), A Gaggle of Saints (John), The Philadelphia (Marcus), La Ronde (Husband), The Producers Club Open Admissions (Calvin). Television credits include: As The World Turns (CBS) (Officer Williams). Film credits include: Inside Joke Productions' How to Make it in N.Y. for Only $15 a Day (Chris). Vocie Over: UNICEF: PAHA (Narrator #1)
(Principled Approach to Humanitarian Action)

Jeremy Stuart

Stage credits include leading roles in Rinne Groff's LIFT-OFF at Provincetown Playhouse, ASCENSION DAY with Ving Rhames, Arthur French, and Andre DeShields at Hudson Guild, FLATBUSH FAITHFUL with Chazz Palminteri at Judith Anderson Theater, HARVEST at AlchemyTheatre/Theater Row, EDWARD 2 at NY Fringe Festival, Gary Richards' STAG at Studio 3. As a member of Circle Rep Lab, RIVERS AND RAVINES and HIRE THE MAN. Founding member of Gary Garrison's FIRST LOOK THEATER COMPANY. Extensive work with Tony Randall at NATIONALACTORS THEATER for Young Audience Outreach program. Television, recurring roles on ALL MY CHILDREN and GUIDING LIGHT. Longtime and devoted student of Michael Howard and Uta Hagen.

Michelle Baldwin

Michele Baldwin has currently completed the feature film, Betrayal: Sins in High Places, presently being pitched to HBO, where she portrays the lead character, Doris. Michele has also completed the TV pilot, Paris Nevada, as the principal character, Lorette, which is being shopped around for pick up. In addition, Michele portrays a supporting character and a principal character on two web series. Michele presently studies at Black Nexxus and also via private coaching. Some credits: Visions Tour Group; Visions, Southern Belles, Bram Stroker’s Dracula, Venus the Mystic Psychic, Girlfriends… Film: Push, The Blood and the Body, Pitter Patter, A Veteran’s Life… TV: One Life to Live, All My Children, Law and Order SUV… and several commercials. With a purposeful focus and steadfast drive, Michele will not be stopped, surely a “Star Rising” to lookout for!

Constance Parng

Constance Parng will be appearing in the upcoming Inwood Shakespeare Festival this summer and will also be joining the Between the Lines production of From Auction Block to Hip Hop. She has performed with Second Generation at the Public Theater, Turtle Shell Productions, Theatre Nebula, and The Shakespeare Theatre of New Jersey's apprentice company. As a playwright, her work has been produced in the 8 Minute Madness Festival and staged by Core Theatre. She is a recipient of the National Foundation for Advancement of the Arts Gold Award in Writing, and a Presidential Scholar in the Arts. BFA: NYU Tisch School of the Arts, Dramatic Writing.

Chantal Thuy

Chantal Thuy stage credits include Teesri Duniya Theatre's Untold Stories (Montreal), Lysistrata (Montreal, Concordia University), Stella Adler Studio's (NYC) Angels In America (Harper), Children's Hour (Karen/Martha), Dolores (Dolores), Danny and The Deep Blue Sea (Roberta), This is Our Youth (Jessica). Film and Shorts include The Fuzz (Hawaii, Short Indie), The Bump (San Francisco State University), Alex, Vampire Slayer (High Resolution Production), and Between the Folds (Concordia University). Chantal Thuy is currently completing a 2.5 year Conservatory program at Stella Adler Studio of Acting (NYC)and has graduated from San Francisco State University (San Francisco) and Concordia University (Montreal) with a BA in TV, Film Studies and Theatre.

Fredric Michaels

Acting career started in 1997 when he became a member of The American Theatre of Harlem (ATH). Since then Michaels has worked as actor and technician on such productions as A Street Car Named Desire, The Colored Museum, Bus Stop and Work Day. Michaels is also currently featured in the soon-to-be-released independent film Betrayal and webisodes of Live Mansion (to be released in conjunction with the film) and True Love.

Mr. Oatman is playwright in residence at KARAMU HOUSE in Cleveland. In addition to his position as resident playwright, Mike is also creative director of Karamu's Gaslight series, which mounts workshop productions, and is the interim director of Karamu's TOPS educational program, which sends shows out to the schools.

THE CHITTLIN THIEF received it's premiere reading at Mocha Hut in Washington, DC in October 2007.

Inquiries should be directed to Jaz Dorsey, Dramaturg, The African American Playwrights' Exchange (AAPEX) at jazmn47@aol.com or by calling 615-837-8777

STAGED READING TO BENEFIT HOWARD UNIVERSITY SCHOLARSHIP FUND 3/31 (DC)

The Essential Theatre’s New Play Reading Series will present the final public reading of, King Willie, by Jamal Williams, on Saturday, May 31st at 3:00 P.M. The reading will be held at the historic H Street Playhouse located at 1365 H Street, NE, in the Capitol Hill area. A portion of the proceeds from this reading will benefit the Yvonne Olivia Lee Memorial Scholarship Fund for women studying Theatre Arts in the Department of Theatre Arts at Howard University. Admission to this and each presentation is Pay-What-You- Can. The suggested donation is $15. Adult language and themes! There will be a post-performance discussion for each reading with the director and Playwright.

Yvonne Olivia Lee, Esq. (1963-2007) Howard University Alumina is a graduate of the class of 1985. She originated the role of Aunt Mary during the development of, King Willie, under the aegis of the New Play Reading Series. The personification of university motto: Truth and Service, Attorney Lee originally arrived at Howard to study Theatre Arts in the College of Fine Arts. She later changed her major course of study to Broadcast Management. Continuing her education, she received a law degree and in 1998 began working as an Attorney for the United States Department of Justice. During the two years prior to her death she fought for her life against pancreatic cancer. Unaware of her condition we telephoned her the day before she transitioned to perform in the annual winter workshop reading of, King Willie. Despite her pain she indicated her interest and asked to be telephoned on the next day. On the Next day, November 24, 2007, Yvonne Olivia Lee departed this earth. While she and her characterization of Aunt Mary will be gravely missed, we celebrate her in a manner that will eternally inspire, educate and change lives.

The New Play Reading Series is created to give voice to the work of new and established playwrights. It is in substance an incubator that serves to nurture the work for a three-year period in a supportive and collaborative environment with other artisans, actors and directors. Further, it is a forum where audience members are welcomed to engage in an open dialogue with the playwright and director about the issues presented in the material as well as techniques used to present them. The New Play Reading Series was initiated in the spring of 1992. The first play that was presented as part of the process was Howard University Alumnus, Mark Green’s Just One Time.

The Essential Theatre is a non-profit professional theatre dedicated, but not limited to producing theatre reflective of the African-American experience, that speaks distinctly from an African-American voice. It is also an objective of the theatre to produce programs for youth in the Washington, D.C. Metropolitan area that promote interdisciplinary education and positive levels of self-esteem.

Additional Readings:
Bluff Street
By Sarah Moon (first reading)
Saturday May 31st
7:30 P.M.
H Street Playhouse
Admission: Pay What You Can

Stuck In Winnemucca
By Robert Alexander (first reading)
Sunday June 1st
3:00 P.M.
H Street Playhouse
Admission: Pay What You Can

For more info contact (202) 328-0569 or E-mail theessentialtheatre@40hotmail.com.

The COALITION OF THEATRES OF COLOR Town Hall Meeting 5/18 (NYC)

Making Our Future & Honoring Our Past

WHO: The Coalition of Theatres of Color

Cordially invites you to

A TOWN HALL MEETING

WHAT: A Conversation with New York Theatres of Color
sharing concerns regarding the issue of sustainability

WHEN: Sunday, May 18, 2008 – 2:00 PM
Press Conference at 4:30 pm

WHERE: Little Shubert Theater
422 West 42nd Street (Between 9th & 10th Avenues)

Master of Ceremonies:

Bob Law, Entrepreneur/Activist

Guest Moderators: Gil Nobel, Host/Producer, "Like it Is" ABC-TV / Felipe Luciano, Journalist/Activist
Imhotep Gary Byrd, Radio Host, WBLS-FM and WBAI-FM

Panelists: Carl Clay - CTC Co-Chair (Black Spectrum Theatre) / Woodie King, Jr. - CTC Chair (New Federal Theatre) Dr. Barbara Ann Teer - CTC Co-Chair (National Black Theatre) / Lorna Hill - (Ujima Theatre) / Richard Marino (Teatro Sea) / Voza Rivers - (New Heritage Theatre) / Marjorie Moon -CTC Co-Chair (Billie Holiday Theatre)

Special Guest Celebrity:

2008 Oscar Nominee, Ms. Ruby Dee

Guest Performance: IMPACT Repertory Theatre, also 2008 Oscar Nominee

Complimentary Admission
RSVP Required: 212-926-2550 ext 21 or
Register online at www.NewHeritageTheatre.org

Nashville International Black Film Festival Call for Films 7/31 Deadline

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I am delighted that festival founder Hazel Joyner Smith has asked me to serve on the staff for this year's festival. I am forwarding information about this year's Nashville International Black Film Festival. Please forward this on to your film maker friends. For more information, please click here.

Jaz

THE BLACKS at Karamu House review (Cleveland)

Karamu's THE BLACKS is an artistic triumph!

Reviewed by: Fran Heller, Cleveland Jewish News

It was like nothing I had ever seen before.

I am talking about The Blacks: a clown show, Jean Genet's 1958 absurdist comedy-drama which took off-Broadway by storm in 1961. A story about race and a fierce indictment of classism and white oppression of blacks, it struck a nerve in the turbulent era of nascent Black Nationalism and civil rights.

Fast forward to Karamu Performing Arts Theatre, where almost five decades later, a new production of The Blacks has lost none of its sting or sardonic humor under the fiercely intelligent and creative direction of Terrence Spivey. It runs through May 10.

It is a tribute to artistic director Spivey that his all-black cast of 13 non-Equity actors have not only met but surpassed the challenge of putting on this fiendishly difficult and demanding show. This ensemble acts its heart out and is a pleasure to watch.

In his preface to the play, Genet wrote: "One evening an actor asked me to write a play for an all-black cast. But what exactly is a black? First of all, what's his color?" For Genet -- and a key to understanding his play-- any notion of color is absurd or meaningless.

Written as a play-within- a-play-within- a-play, the theater piece is a surreal mix of allegory, fantasy, symbolism and fragmented language and, like expressionism, more felt than fully understood. A running time of three hours, including intermission, requires some tenacity.

The bawdy in-your-face dramedy lampoons stereotypical attitudes on both sides of the color divide, namely the sexual attraction between whites and blacks. It takes us into the very heart of darkness, which is Africa, where colonialism, racism and hatred all began.

John Konopka's fabulous set is a cross between a funeral parlor and a courtroom, with audience members situated on both sides of a thrust stage, like a jury. In the center is a catafalque, or coffin-like structure, covered with a white cloth and a bouquet of lilies.

First to enter are the members of the Court. They are the whites (black actors wearing white masks), their smug superiority evident in their courtly airs and arrogant behavior. Next to arrive are the rowdy Negroes, who will re-enact for the Court the ritualistic murder of a white woman, of which they have been accused.

Bathed in Richard H. Morris Jr.'s fiery red glow, the Negroes file in like prisoners on a chain gang. It's a stunning tableau, the first of many that make this production unique.

Harold Crawford's sensational costumes and masks are a riveting study in black and white. Nothing has been spared in his rapturous designs, from the Queen's snow-white wedding gown and cascading mop of blonde curls to the prostitute's black bodice and the ringmaster's tux.

The intimate setting of the Arena theater, the smaller of Karamu's two performance spaces, is ideal for the kangaroo court setting in which the whites are situated on a platform above the stage, with the blacks placed below. The Negroes interact with audience members, pulling them into the entertainment.

The cast, individually and as an ensemble, reflects the discipline and hard work such physical theater requires. Jason Dixon is outstanding as the malevolent leader of the Negroes, Archibald Absalom Wellington. With his face painted like a clown and his manic grin a cross between a sneer and a smile, Dixon summons an image of the decadent master of ceremonies in "Cabaret."

Joseph Primes is equally memorable as the hotheaded Village, who loves the prostitute Virtue (the fetchingly seductive Andrea Belser). Neal Hodges impersonates a man of the cloth called Diouf, whose turn it is to play the white woman about to be raped and murdered.

The rest of the Negroes (fine performances all) include Michael R. Brown Jr, Janelle K. Tate, Erin Neal, and Saidah Mitchell as Felicity Trollop Pardon, an African prophetess who augurs an idyllic future when "everything gentle and kind and beautiful and tender will be black."

Members of the Court are Vernon-Reed Bulluck as the lascivious Governor, Jason Walker as the hypocritical Missionary, Dwayne Owens as the prejudicial Judge, Doug Pratt as a whining Valet, and Morris Cammon as the vulgar Queen who knits a pearly white sweater or strokes her snow-white dog when she isn't snoring.

In a production in which pantomime and movement play a key role, director Spivey's rampant imagination and inspired choreography are boundless. Though long and disorienting (as much a function of the play as written), the circus-like atmosphere keeps one's attention from flagging.

Genet wrote The Blacks as an indictment of French colonialism in Africa. But the parallels with the African-American experience, including slavery, racism, class prejudice, and a biased judicial system are unmistakably clear. While the historic injustices Genet rails against have been addressed in part, his play is a reminder that the color of one's skin is still very much a divisive issue.

Karamu Performing Arts Theatre is at 2355 East 89th St., Cleveland. 216-795-7077 or http://www.karamu.com/.

Pittsburgh Playwrights Theatre Company presents August Wilson's TWO TRAINS RUNNING 5/15-31

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Produced by special arrangement with SAMUEL FRENCH, INC

Photo by Michael Romanos

www.pghplaywrights.com

Broadway's The Color Purple's LEILANI N. BRYANT cast as the lead in HANNAH ELIAS 6/17 (NYC)

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Leilani N. Bryant
Leilani is a native of Jacksonville, Florida. She has performed in the Broadway musical The Color Purple. She has also performed in the Broadway musical Show Boat, a benefit concert for Carnegie Hall. Other accomplishments include featured vocalist for Music Under the Stars with the Jacksonville Symphony Orchestra, as well as featured vocalist for the Florida Jasper Awards.

I am also honored that Nathan is going to use one of my original compositions as incidental music for HANNAH ELIAS, and I look forward to being in NYC to perform the music in conjunction with the reading, as well as to attend the opening night of Hershell Norwood's BILLIE'S BLUES at the Cherry Lane Theater, directed by T. Bankole.

Also on board for this event will be Winston Salem based costume designer Frenchie LaVern, who will present her costume renderings for Nathan's play.

This reading will take place at The Players Club at 7 pm on Tuesday, June 17. Seating is limited, so please let me know if you are planning to attend.

Jaz Dorsey
Artistic Director
AAPEX
(The African American Playwrights Exchange)
Nashville, Tennessee
615-837-8777
aapextv@gmail.com

First National Conference Black Women Playwrights' Group 9/4-7 (Chicago)

1st National Conference - Black Women Playwrights' Group

The Black Women Playwrights' Group

presents

Whisper, Laugh, Shout, Tell the Story: 1st National Meeting for Women of Color Writing Drama

Chicago

September 4-7

Hosted by

Loyola University Chicago's Department of Fine and Performing Arts

Guest Speaker:

Lynn Nottage, MacArthur Award-Winning Playwright

Who should come? You should. If you are thinking about writing your first play, or have just started, come. If you have written 20 plays, come. If you are writing hip hop, dramas, comedies, gospel plays, musicals, come! If you are writing for film and television, come. Your voice is unique, but we are gathering kindred spirits with stories to tell. For the first time women writers of color will gather in a nurturing environment that assumes they should have prolific, consistent careers writing dramatic literature that illuminates the human condition. We want to ask writing women what they need to navigate the labyrinth facing writers of color in theater, film, and television. Focus groups will ask, "What do you need? How can we support you?" With the answers to these questions, we will design a national level of membership that serves not only women playwrights of color but also the American theater.

The four-day meeting will include a staged reading, an awards dinner, workshops, and small group discussions that center on the playwrights' experiences. Lynn Nottage, MacArthur award-winning playwright, is a guest speaker. Scholars and professionals in the field will also be present to make this a memorable and worthwhile event. The conference will take place at Loyola University Chicago's newly renovated Mundelein Center for the Fine and Performing Arts on Loyola's Lake Shore Campus. Loyola Professor Jonathan Wilson, a highly respected director at regional theaters across the nation, will direct the staged reading. For Loyola, the conference is the beginning of a year-long focus on gender, diversity, and new initiatives in the American theater.

"This summer, I stood in the bank and two black women were at the teller windows in front of me. I saw only their backs. One was in her fifties, with perfectly coiffed silvery hair, a raw silk outfit, lime green pants, and tiny jewels on her mules. Next to her was a woman in her twenties, with dread locks down her back, well-worn cowboy boots, jeans with a chain belt, and a small purse with a shoulder strap. On the purse was the Harley Davidson emblem. I thought to myself, 'Here's a story. Here's a BWPG standing in line right in front of me."

Please come to Chicago and tell your story!

Karen L.B. Evans

President & Founder BWPG.

For more information, please email conference@40blackwomenplaywrights.org, call (202) 635-2974, or visit www.blackwomenplaywrights.org/.